Image by Ana Portnoy, 2017
We are excited to announce the release of our oral history interview will William C. Gordon, lawyer, noir writer, and library supporter. He was born and raised in Los Angeles, California and attended college at the University of California, Berkeley. He earned his law degree at the University of California, Hastings College of Law. He worked as a lawyer in San Francisco for many years before becoming a mystery writer. He is the author of six books, including The Chinese Jars, King of the Bottom, and The Halls of Power, among others. He is also an enthusiastic supporter of libraries, and has made significant contributions to the Whittier High Library and to The Bancroft Library for their burgeoning California Detective Fiction Collection.
OHC Interviewer Shanna Farrell sat down with Gordon in 2017 to discuss his early life growing up in Los Angeles, his affinity for libraries, education and career in the Bay Area, and becoming a writer in his retirement.
We are pleased to announce the release of our interview with Paul A. Bissinger, Jr. Bissinger was born in San Francisco, California in 1934 to Paul Bissinger and Marjorie Pearl Walter-Bissinger. He was raised on Divisidero Street and attended the Town School. He attended high school at the Phillips Exeter Academy, attended college at Stanford University, and earned a graduate degree from the American Institute for Foreign Trade. He served in the Navy in the 1950s, which took him to Japan, Hong Kong, and Manila. He’s been a life-long patron of the arts, which began as a child. He has a passion for the San Francisco Youth Orchestra, which he has been involved with for many years, and his service was honored by a performance dedicated to him on his 70th birthday.
In his interview, Bissinger discusses his early life, education, time in the Navy, meeting his wife, Kathy, and starting a family, working for his family business, and commitment to the local arts community. He also talks about serving on multiple boards for arts organizations, including for the San Francisco Youth Orchestra and Asian Art Museum.
UC Berkeley’s Oral History Center is offering a $2,000 summer fellowship to a graduate student of color enrolled in the UC system. Aimed at early to mid-career oral historians, this fellowship provides an opportunity to conduct a longform life history interview with a leading figure in the arts or humanities. The selected fellow will conduct a 4-8 hour interview on video, which will be archived at The Bancroft Library. The fellow will see the interview series through from conception to completion and will present on their project at the Oral History Center’s annual Summer Institute.
This fellowship is open to graduate students of color who are enrolled in the UC system. Preference will be given to projects with a U.S. focus, but consideration will be given to international projects that have impact in the U.S.
The fellow will work with OHC Interviewer Shanna Farrell to hone project planning, the structure of the interview, and presentation. Interviewing will take place during June, July, and August. The fellow is expected to be on UC Berkeley’s campus during the Summer Institute, which takes place from August 5-9, 2019. The fellow will have the opportunity to work out of the Doe Library and check books out as needed. Equipment (if needed) and transcription for the interviews will be provided by the Oral History Center.
Applications are open January 14 – February 25, 2019. Award notifications will be send out in late March. Please email Shanna Farrell at email@example.com with any questions.
From the Oral History Center Director:
Paul “Pete” Bancroft, III, a 1951 graduate of Yale, a pioneer in venture capital, and the eldest great-grandson of Bancroft Library founder Hubert Howe Bancroft, died peacefully in his sleep on January 3, 2019, at the age of 88.
We at The Bancroft Library’s Oral History Center are extremely grateful for his support of over the years. The word “support,” however, is wholly inadequate to capture what he did for oral history at Berkeley. Pete Bancroft was, in fact, its greatest single benefactor in the 65-year history of our office.
Pete’s first major engagement with the Oral History Center (or, as we were known at the time, the Regional Oral History Office) began around 2007 with discussions about a possible oral history project documenting the history of venture capital in the Bay Area. Not only did Pete step forward to sponsor the project, he played a critical role in helping to articulate the major themes and issues to be covered in the interviews. He also created an advisory committee of scholars and leaders in the field that gave the project instant credibility and served on that committee; and he reached out personally to many of the key players whom we wished to interview, setting forth the goals of the project and convincing those who might have been reluctant to participate. Sally Hughes, who was the project director and interviewer for these oral histories, wrote to me upon learning of Pete’s death: “As the interviewer for the Center’s venture capital project, I could not have asked for a better sponsor in organizing, completely funding, and advising the project every step of the way. In his warm and supportive manner, he made it clear that we were a partnership in trying to create the best possible series of interviews on the foundational era of venture capital. It was a subject dear to his heart as one of its early participants.” When completed, the project resulted in 19 lengthy oral history interviews with the pioneers of venture capital, including Franklin “Pitch” Johnson, Art Rock, Reid Dennis, Tom Perkins, Don Lucas, Don Valentine, Bill Draper, Bill Bowes, and Pete himself. In addition, Pete facilitated the donation of another group of interviews already conducted by the National Venture Capital Association. Pete Bancroft played a crucial role in creating this “must read” resource for anyone interested in the history of venture capital.
The years around the financial crisis of 2008 were difficult ones for this office. In addition to waning donations and external support, several retirements left us greatly understaffed. For the few of us remaining, myself included, there was a nervously voiced worry that the fifty-plus year tradition of oral history at Berkeley might be reaching an end. In the wake of these worries, Pete was conspiring behind the scenes to make certain that oral history would continue at Berkeley. He was a good friend of long-time Bancroft Library director Charles Faulhaber. When Faulhaber retired in 2011, Pete paid tribute to his friend’s leadership of Bancroft by creating the Charles B. Faulhaber Endowment, whose income was to be dedicated to the oral history program. Pete had only one request: that the name of the office be changed. Happily, the staff of the center recognized that we had long ago outgrown the “regional” in our former name and readily embraced the new moniker of the “Oral History Center of The Bancroft Library.”
Other than the name change, Pete asked for nothing in return for creating the Faulhaber endowment, which was built with his donations and those of many of his friends and venture capital colleagues. This endowment has been critical to the recent success of this office. Because only one of eight full-time staff positions, and none of the related costs of conducting interviews (equipment, transcription, travel), is paid for by the university, all of our projects require external funding. However, project funds can only support project-related activities and there is a lot more that we do — and want to do — than just conducting interviews, transcribing them, and editing them. Pete Bancroft’s “Charles Faulhaber Endowment” allows the Oral History Center to do so much more: we can host formal and informal training for those who want to learn oral history methodology from our highly-skilled team of historians; we can now create interpretative materials based on the interviews that we conduct, including, now, three seasons of our in-depth podcast series, “The Berkeley Remix”; and, perhaps most importantly, the Faulhaber endowment allows us to conduct research and development in support of new projects. We are fortunate to have a smart, ambitious, and creative group of oral historians who come up with potentially important project ideas; this endowment gives us the ability to pursue those ideas by doing background research, conducting pilot interviews, and seeking funding to make these ideas a reality. Thus, Pete Bancroft continued his career in venture capital with the Oral History Center: by providing perpetual seed funding, he has established a lasting legacy of innovation, experimentation, and entrepreneurship among the publicly-engaged scholars at the center!
In his final months of life, Pete Bancroft continued to think about and look after his friends, including the Oral History Center. Charles Faulhaber, returning the honor given to him by Pete, created the “Pete Bancroft Endowment for the Oral History Center,” with an initial gift from Pitch Johnson and additional gifts from many of the same philanthropists who supported the earlier one as well as his ‘Hill Billies’ campmates at the Bohemian Club. And like the Faulhaber endowment, this one will support the ongoing work on the Oral History Center. In a touching note just after Pete’s passing, Faulhaber let me know that Pete was thinking of us until the end, making a major donation to the endowment in the final weeks of his life. With this news, we sadly bid farewell to an esteemed and gracious benefactor — our angel investor.
Martin Meeker, Charles B. Faulhaber Director of the Oral History Center
Jeanne Rose is an herbalist, aromatherapist, distiller, and was the couturière to rock and roll bands like Jefferson Airplane in the late 1960s. Rose grew up in Antioch, California, and graduated from San José State University in the 1950s before attending University of Miami Marine Laboratory for graduate school. She started a couturière business called New Age Creations in Cloth, and her fashions became emblematic of the hippie movement in San Francisco. Rose has written over twenty books about herbal remedies and uses, including the 1972 Herbs and Things: A Compendium of Practical and Exotic Herb Lore. She also owned and operated New Age Creations, the first natural cosmetic company in the United States. She continues to teach and lecture about herbalism in the Bay Area.
In addition to sharing her rich and varied life experiences, Jeanne Rose’s oral history documents the physical and cultural changes in the San Francisco Bay Area over the last eighty years. Indeed, Rose’s influential fashions literally changed what people wore in 1960s San Francisco. Later, when Rose became interested in herbalism and aromatherapy, her written work and classes helped shape human interaction with the natural world in the Bay Area and far beyond.
Listen to Jeanne Rose share stories about fashion, herbalism, and 1960s rock and roll.
The Year in Review
by Martin Meeker
It is no exaggeration to write that 2018 is one for the record books as far as the Oral History Center is concerned. I can write with great pride that this year the Center conducted more hours of interviews than at any other time in our 64 year history. And, while not as easy to quantify, I have listened to and read through enough of our interviews (along with conducting a few myself) to report that they are as illuminating, interesting, and important as any we’ve yet done. As I approached writing this final newsletter column of 2018, it wasn’t the grasping for a story that made me miss my deadline, rather I was stuck on just which stories to tell — and when to find time to do it!
We are thrilled with the opportunities that come with the challenge of working so hard. If you read this column regularly, you’ll know that the Oral History Center is a “soft money” operation of the university, meaning that we need to raise funds to conduct our oral histories and make them available to you. So, all of this work means that foundations, organizations, and individuals like you have invested in this work and given us the honor of conducting these remarkable interviews. We are thrilled that, thanks to you, we are so busy — and, at year’s end, we invite you to help us continue this good work in 2019 by supporting us now with a donation.
Surely none of this could happen without one essential ingredient: a remarkable, smart, and hard-working group of colleagues. I could easily write a column on each of my colleagues’ contributions over the past year, which have been nothing short of heroic, so I’ll struggle here with this limited space: Amanda Tewes and Roger Eardley-Pryor each joined us in the spring as historian/interviewers and, in just a matter of months, both have proved themselves essential by conducting excellent interviews and contributing in valuable ways to the life of the office. Todd Holmes, who has been with us since 2016, is a serious scholar and a project development mastermind, serving as the driving force behind several exciting new initiatives. Shanna Farrell, historian and longtime head of our educational initiatives, conducted a remarkable number of individual interviews this year and also took over editing responsibilities for this now-monthly newsletter. Paul Burnett, with us now for five years, eagerly takes on some of the most intellectually challenging and complex oral histories and always excels. And, last but not least, David Dunham, our tech guru, quite literally worked two jobs in 2018: as technical lead and production manager he ensured that everything happened as it must — oh, and he also managed the project that brought you the amazing new search engine launched last month. I must also not forget to pay tribute to our group of student employees — 13 this semester — who do an expanding amount of work and perform an increasingly complex set of duties. Thank you!
So what has this inveterate and skilled, yet innovative and scrappy band of oral historians accomplished over the past year? Here are some of our highlights:
- We continued our partnership with the Getty Trust, conducting a number of interviews with Getty curators and trustees and with influential artists, including a group Latino artists. We’ve already begun a project on African-American artists, which will be a major feature of our 2019 agenda;
- We conducted several interviews for our Chicano Studies oral history project which will culminate in a full-length documentary film produced over the coming years;
- We maintained our commitment to documenting the history of the University of California with a small but fascinating project on the campus political organization SLATE and individual interviews with several faculty leaders, including Berkeley Law Dean Jesse Choper, UC President Mark Yudof, Berkeley provost Paul Gray, and Nobel laureate and UCSF chancellor J. Michael Bishop;
- We resurrected our long-running series on the history of wine in California with two new projects, one capturing the story of Harlan Estate and the other marking the 75th anniversary of Napa Valley Vintners;
- We completed large groups of interviews documenting life in and around the East Bay Regional Park District and the San Francisco Presidio;
- We continued our tradition of interviewing those who have made important contributions and lived memorable lives, including famed herbalist and clothing designer Jeanne Rose, philanthropist Howard Friesen, ACLU attorney Marshall Krause, Judge Patricia Herron, urbanist Anne Halsted, writer and lawyer Willie C. Gordon, professor Michael Teitz, philanthropist and businessman Herb Sandler, patron of the San Francisco arts Paul Bissinger, economist Lester Telser, and many many more;
- And, we have kept up the educational and outreach activities that are essential if we want the skill of quality oral history interviewing and the knowledge of our projects to spread, enhancing knowledge and the quality of public dialog.
I’ve got another oral history to conduct in the morning, so I’ll resist the temptation to go on — there really a great deal more to tell you about, including the fascinating projects already scheduled for 2019. Instead, I’ll humbly ask that you continue to read this newsletter and keep in touch with us: let us know if any of our interviews proved interesting or useful; if there are projects or specific interviews that you think that we should pursue (especially if you have ideas for how to fund them!); or if you have a question about oral history or any of the many topics which we study and attempt to help illuminate through our interviews. So, please keep in touch. Thank you for a wonderful 2018 and I wish everyone the best in the new year.
Charles B. Faulhaber Director, The Oral History Center
The Oral History Center has had a productive year, and interviewed many people. Here’s some of our favorite moments from our 2018 interviews. We hope you enjoy them as much as we did!
Of the dozens of revelatory, challenging, or even hilarious moments in my interviews this year, I find it difficult to highlight just one. But I keep coming back to this moment in my interview with famed ACLU attorney Marshall Krause. Krause defended a number of individuals charged with obscenity in San Francisco in the 1960s, including Vorpal Gallery owner Muldoon Elder for putting Ron Boise’s erotic Kama Sutra sculptures on display. While recounting the story, Krause mentioned that he had one of the artworks in question, so I asked him to bring it out to show on camera. I then asked him to provide the kind of defense he did in the courtroom in 1964. Krause’s sensitive, insightful, convincing words made it obvious why the jury acquitted Elder of the charges, thus giving Krause and the cause of the freedom of expression a victory.
My favorite interview moment of 2018 occurred when I interviewed Bay Area herbalist and aromatherapist Jeanne Rose. In the 1960s, Rose was the couturier for bands like Jefferson Airplane and was very plugged into the local rock and roll scene. During one of our sessions together, Rose recounted her experience at the Altamont Speedway Free Festival on December 6, 1969, when an agitated audience of about 300,000 erupted into violence. Rose watched the chaos from above the crowd, but still recalls the strong emotions from that day. Hearing about the event firsthand reinforced how scary and chaotic the events must have been for concert goers. Interestingly, Rose marked this concert as “the end” of rock and roll.
had started an underground called the Werewolves. We spent quite a bit of
time on that for the first few months. I don’t think we ever found any. We
once raided an outfit that were presumably Werewolves. I don’t remember
what happened to them, except that we sort of used movie techniques to make
the raid, coming through the skylights.
My favorite moment this year was interviewing Professor James C. Scott at his farm in Durham, Connecticut. The Sterling Professor of Political Science and Anthropology at Yale University, Scott is widely regarded as one of the most influential thinkers of our time, producing an unparalleled corpus of books over the last 50 years on peasant politics, resistance, and state governance, which today are standard reading across a host of disciplines worldwide. Yet in the interviews, we get a glimpse of the unassuming human being behind the books as Scott discusses the two principles that have always underpinned his approach to academic work – principles he stresses . The first: “Don’t ever be afraid to be an army of one in a crowd of a hundred,” a philosophy of independence he came to embrace during his Quaker education as a young man. The second: “If you’re not having fun, what the hell are you doing?” For those who know Jim Scott, the latter is certainly an oft-quoted remark he has extolled to colleagues and graduate students for decades. Spending the weekend at his farm, I quickly realized that those principles were not just lofty ideals, but words he lived by, and I would be wise to do the same.
My favorite moment this year was during an interview with WWII Veteran Lawson Sakai, who is in his nineties, for the East Bay Regional Park Parkland Oral History Project. Sakai’s parent immigrated from Japan, making him Nisei, or second generation. He spoke about needing to flee California to avoid internment, and the role that farming in the Central Valley played to rebuild the Japanese community in the aftermath. Driscoll Farms was just getting started and needed help growing strawberries. They recruited Japanese farmers, asked them to farm the land, and split profits with them 50/50. After hearing how Driscoll helped many people get back on their feet after losing everything in the wake of Executive Order 9066, I scoured my food history books and didn’t find any information about this. I felt like I had stumbled upon a hidden historical gem.
Interviewing Aaron Mair—the 57th president of the Sierra Club and the Club’s first African-American president—provided my favorite interview moments this year. We conducted Aaron’s initial interview session at the Hagood Mill Historic Site in the upcountry of South Carolina. As his family’s genealogist, Aaron has the 1865 records of his enslaved great, great grandfather Zion McKenzie’s emancipation from the Hagood family. Before interviewing at the Hagood Mill site, Aaron and I visited the humble, un-fenced cemetery of his enslaved ancestors, whose rough, uncut gravestones lay just outside the Hagood family’s iron-fenced grave site with grandiose tombs and Confederate soldier crosses. Later, during his interview, Aaron recounted his ancestors’ remarkable stories from slavery to freedom and their purchase of farm land that remains in Aaron’s family today. His family’s narrative, from human dominion to sustainable stewardship of land, informs Aaron’s ideas on environmental responsibility. And it helped inspire Aaron’s initiatives as Sierra Club president to unify activism for environmental rights with civil rights and labor rights. Aaron takes seriously Sierra Club founder John Muir’s admonition that “When we try to pick out anything by itself, we find it hitched to everything else in the Universe.”
Mair and Eardley-Pryor
by Todd Holmes
Today, courses on the Mexican American experience can be found at nearly every college campus across the nation. In an academic environment long entrenched within the mold of Western Europe, such curriculum is nothing short of a miraculous testament to the diversification of American education. Indeed, the subject has its own journals, national organizations, student groups, academic departments, and specialized degrees. Yet fifty years ago, the discipline of Chicana/o Studies—as the field of study became known—was just taking shape and, above all, struggling for legitimacy.
To commemorate the 50th anniversary of the discipline, the OHC initiated the Chicana/o Studies Oral History Project. Led by Todd Holmes, the project documents the historical development of the field through in-depth interviews with the first generation of scholars who shaped it. Holmes began working on the project in the fall of 2016 with the initial step of putting together an advisory council composed of Chicana/o scholars from around the country. Based on the council’s recommendations, over 25 prominent scholars were selected to be interviewed—scholars whose pioneering research and innovative work played a significant role in building the discipline over the last five decades. Holmes then commenced an ambitious fundraising campaign, going directly to the home universities of the featured scholars. To date, the project has received generous support from a host of academic institutions, including the University of California Office of the President, California State University Office of the Chancellor, Stanford University, Arizona State University, and the University of Texas at Austin.
The interviews will offer an important look at the formation of Chicana/o Studies, as well as the experiences of those who built it. Such areas of discussion include their family background, undergraduate and graduate experiences, and academic career as faculty members. With most—if not all—of these scholars standing as the first in the families to attend college, and certainly among the first cohort of Mexican American graduate students and faculty, their experiences highlight the evolution of the field, the diversification of higher education, and the long struggle that underpinned both. Moreover, the interviews trace significant shifts within the field of Chicana/o Studies over the decades, and how the field expanded from college campuses in California and Texas to a nationally recognized discipline of study.
All interviews are slated to be completed by the summer of 2019. When done, they will be featured on a dedicated page of the Center’s website. Moreover, the oral histories will form the heart of a documentary film, tentatively titled, Chicana/o Studies: The Legacy of A Movement and the Forging of A Discipline. The OHC is thrilled to make this foray into film and collaborate with veteran producer Ray Telles and others in this exciting effort. Stay tuned for further updates in 2019!
First Generation Scholars
Norma Alarcón (UC Berkeley)
Tomás Almaguer (San Francisco State)
Rudy Acuňa (CSU Northridge)
Mario Barrera (UC Berkeley)
Albert Camarillo (Stanford)
Martha Cotera (UT Austin)
Antonia Castaňeda (St. Mary’s College)
Edward Escobar (Arizona State)
Juan Gómez-Quiňones (UCLA)
Mario T. García (UC Santa Barbara)
Deena González (Loyola Marymount)
Richard Griswold Castillo (San Diego State)
Ramón Guitierrez (University of Chicago)
José E. Limón (UT Austin)
David Montejano (UC Berkeley)
Emma Pérez (University of Arizona)
Ricardo Romo (UT San Antonio)
Raquel Rubio-Goldsmith (University of Arizona)
Vicki Ruiz (UC Irvine)
Ramón Saldivar (Stanford)
Rita Sanchez (San Diego State)
Rosaura Sánchez (UC San Diego)
Carlos Vélez-Ibáňez (Arizona State)
Emilio Zamora (UT Austin)
Patricia Zavella (UC Santa Cruz)
For more information on the project, its participants, and to view the film’s trailer, visit the project page..
We recently caught up with one of our Advanced Oral History Summer Institute alums, Alec O’Halloran, who recently published a book that was influenced by his work with us. His book, The Master from Marnpi, is based on oral history interviews. O’Halloran reflects on his work, his time with us, and the release on his book.
Q: How did you first come to oral history?
I don’t have a ‘first’ recollection. I’ve always been interested in stories and in the 1990s (in my forties) I was drawn to the larger story of Aboriginal art and history in Australia, which I knew very little about. This led to reading autobiographies and biographies of Indigenous people, as well as attending art exhibitions etc. Oral history interviews were often quoted in stories about Aboriginal artists, particularly older people from remote parts of Australia that most of our population knew very little about.
When I began researching the life of an artist whose work I admired, Mick Namarari Tjapaltjarri, I found out he had done two recorded interviews in his language, Pintupi, a decade before he passed away (1998). I found those interviews – or their translated transcriptions – fascinating! What a life he had led… so different to mine. Those interviews motivated me to look around for more oral history work that engaged with Aboriginal artists in particular.
Q: Tell us a little bit about the project you were working on when you attended the Advanced Oral History Summer Institute.
I attended the Institute in 2010, in part with support of a travel grant from my institution, The Australian National University in Canberra, where I was undertaking a doctoral program in Interdisciplinary Studies. My thesis project was the life and art of Mick Namarari Tjapaltjarri. I had a rough draft of his life story by that stage, and I was mostly preoccupied with assembling the chronology of events, rather than comprehending his character.
Q: How did your work benefit from the Summer Institute?
One thing I still remember from one of the guest lecturers was about ‘listening and hearing’ when working with recorded interviews. And with so many conversations with fellow participants about each other’s projects, I realised I was not fully engaging with the materials I had at hand. So, I when I returned home to Sydney I took a more rigorous approach.
I went back to the original recordings of Namarari (one audio, one video), and the transcripts, and tasked myself to see and hear more than I had before. To not only track events and incidents and the chronology of his life story, but to look beneath and between the lines and sounds for character and personality traits, for nuanced references to culture, to allusions to relationships with other people. I said to myself, ‘These two interviews are like gold, I need to use them to the fullest’. So the Institute motivated me to be much more dedicated to the oral history component of the biographical research about Namarari’s life and art. This certainly improved the quality of my writing when I was integrating Namarari’s voice into a wider story that involved multiple voices and archival sources.
Another outcome too. Oral history as a data-making history-creating method became more important to me. I don’t think I was an expert practitioner, so I tried to improve the quality of my interviewing work. This involved better planning of interviews and better conduct as the interviewer. Also, I saw that I had an opportunity to contribute to the field in a meaningful way.
The region where Namarari lived is called the Western Desert. It occupies a vast swathe of Central Australia. (Bigger than Texas!) My field work took me to that region, first by air to Alice Springs, and then by four-wheel drive (essential for the outback gravel roads). I realised I could do additional oral history work outside my specific research project as part of my travels. During 2011-13 I was awarded two oral history grants by the Northern Territory Government, which I applied to producing two community oral history reports: for the desert communities of Mount Liebig and Kintore. I interviewed some twenty Aboriginal and non-Aboriginal people and submitted a report, and deposited the interviews with the Northern Territory Archives Service in Darwin. I hope that one day a community member or researcher will come along who wants to write a local history of those places and find those interviews… they can then serve a good purpose. Importantly, but sadly, some of the people I interviewed have passed away.
Q: What’s the status of your project now?
My project, to produce an authorised biography on the life and art career of Mick Namarari Tjapaltjarri, is complete! The master from Marnpi was released on 7 September 2018.
See my website for more information www.alecohalloran.com
Q: How did your biography, The Master from Marnpi, benefit from the use of oral history?
Namarari passed away in 1998, before I started my research, so I never met him and I could not interview him. This contrasts sharply with the majority of Aboriginal artist’s biographies in recent decades in Australia – they are invariably deep collaborations between the author and subject.
My narration of Namarari’s life story is based on his testimony: two interviews recorded in Pintupi, in 1989 and 1992, each conducted in the Western Desert by non-Aboriginal researchers who had travelled there for that purpose (and to interview other Aboriginal people of the area).
Thus it is his (translated and transcribed) voice that runs through the chapters. The many gaps are filled, where possible, with other oral history interviews I did with his relatives, and with art advisers who worked with him across his art career (1971-1998). I also drew on other oral histories, both my original interviews and from the archives, to enrich the narrative, applying more details to local histories of place, and shining a light on prevailing attitudes and circumstances that Namarari and his Aboriginal countrymen found themselves in. Where possible, I added salient photographs from a wide range of archives to illustrate what was referred to in the text by people who were ‘there at the time’.
Q: You have some visual components in the book, like maps. How did you weave visual elements with oral history?
The non-text items are: maps (of Australia, and the Western Desert region where Namarari lived), diagrams (eg, the Aboriginal kinship system), tables (eg, Namarari’s annual art output from 1971 to 1998), photographs of people, places (eg, desert scenes, Namarari’s house), and art (primarily his paintings).
The visual components serve to show the reader something of what the story-teller (eg, Namarari or his relatives) was talking about. If it was an important water-source location from his childhood in the 1930s, I would include a photograph. If it was a settlement where he lived in the 1950s, I would look for appropriate pictures from that era. Unsurprisingly there are many more useful photographs from the 1990s than the 1950s.
I applied a policy of sorts to the inclusion of images: it had to illuminate something in the text, rather than being a decorative piece to fill a space. I sometimes juxtaposed images to make a point, such as two artworks that had a subtle feature in common.
Q: What kind of projects do you draw inspiration from?
I have really been preoccupied with my book for several years, so I haven’t been looking for extra inspiration. When I was doing the biographical research I drew inspiration (and understanding) from reading Indigenous autobiographies… they often had the raw truth of historical circumstance from the mouths of those who experienced events and situations and policies.
By Amanda Tewes, OHC interviewer
In last month’s midterms elections, a wave of diverse women swept into political office across America. From local school boards to Congressional and gubernatorial races, women showed up this November. While many may point to this result as the culmination of women’s dedicated activism since 2016, in places like the Bay Area, well-established political organization helped pull women candidates over the finish line.
On Tuesday, November 13th, one week after the polls closed, OHC staff and local political buffs met at The Ruby to discuss the historical and contemporary role of political women in the Bay Area and to help kick off the Women in Bay Area Politics Oral History Project. The event featured a panel discussion with political consultant and Close the Gap California founder Mary Hughes and San Francisco Supervisor Jane Kim. From their combined years of experience, Hughes and Kim shared insight into what it’s like being a woman in Bay Area politics.
One great question from the audience asked the panelists about how women balance family obligations and political careers. Hughes recalled overhearing a recent conversation in which a woman was praised for waiting to run for office until her children were older. Hughes was dismayed to realize these double standards still existed for women in 2018, and noted that men do not face similar criticism. Similarly, Kim explained that her office is full of working mothers, and that while this was a challenge to balance at first, it also has helped productivity during normal work hours.
Hughes also reminded the audience that while women’s campaign successes are nearly on par with that of men, the struggle often occurs when trying to convince women to run for office in the first place. Even when they are extremely qualified, some women need to be asked more than once. Hughes praised Kim for continuing to run and participate in politics, even after setbacks. She explained that dusting yourself off and trying again is important in order to push toward gender equality in political office.
The stories Hughes and Kim shared reinforced the need to document the histories of Bay Area political women in order to get a clearer picture of the breadth of political work women have been doing on the ground and behind the scenes. Now is the time to undertake this endeavor to celebrate and learn from Bay Area women who have shaped local and national politics.
Please help us out by suggesting women narrators whose political work has been unsung! Which stories about women in politics aren’t making it into the historical record?
To support the Bay Area Women in Politics Project, visit ucblib.link/givetoOHC. Please note under special instructions: “For the Bay Area Women in Politics Oral History Project.”
If you would like to learn more about the project, please contact Amanda Tewes at firstname.lastname@example.org.